Rage |

lat. rage; Rarraba Jamusanci, Verkleinerung; Faransanci da Ingilishi. raguwa; ital. diminuzione

1) Daidai da raguwa.

2) Hanya don canza waƙa, jigo, dalili, rhythmic. zane ko siffa, da kuma tsayawa ta hanyar kunna su da sautuna (dakatawar) na ɗan gajeren lokaci. Bambance U. daidai, ba tare da sake haifar da osn ba. kari a cikin daidai gwargwado (alal misali, gabatarwar daga opera "Ruslan da Lyudmila" Glinka, lamba 28), rashin kuskure, sake haifar da babban. rhythm (jigo) tare da rhythmic iri-iri. ko waƙa. canje-canje (misali, aria na Swan-Bird, No. 11 daga 2nd act of Rimsky-Korsakov's opera The Tale of Tsar Saltan, lamba 117), da rhythmic, ko wadanda ba thematic, tare da krom melodic. zane yana kiyaye ko dai kusan (farkon gabatarwar opera Sadko ta Rimsky-Korsakov), ko kuma ba a kiyaye shi gaba ɗaya (ƙaramar ɓangaren gefe a cikin U. a cikin haɓaka 1st motsi na Shostakovich's 5th symphony).

J. Dunstable. Cantus firmus daga motet Christe sanctorum decus (muryoyin da ba a cire su ba).

J. Spataro. Motet.

Fitowar U. (da karuwa) azaman kida mai bayyanawa da tsara fasaha yana nufin tun daga lokacin amfani da bayanin haila kuma yana da alaƙa da haɓakar sautin murya. polyphony. X. Riemann yana nuna cewa U. na farko yayi amfani da motet I. de Muris a cikin tenor. Isorhythmic motet - babban abu. Iyalin U. a cikin karni na 14: maimaitawa, kama da ostinato, gudanar da rhythmic. Figures sune tushen kiɗan. siffofin, kuma U. shine ainihin gidan kayan gargajiya. na yau da kullun na ƙungiyarsa (ba kamar sauran nau'ikan da babban arr. rubutu ya bayyana). A cikin motets na G. de Machaux (Amaro valde, Speravi, Fiat voluntas tua, Ad te suspiramus) rhythmic. Ana maimaita adadi a cikin U. kowane lokaci tare da sabon karin waƙa. cika; a cikin motets isorhythmic J. Dunstable rhythmic. ana maimaita adadi (sau biyu, sau uku) tare da sabon waƙa, sannan an sake yin komai tare da adana waƙar. zana a daya da rabi, sannan sau 3 U. (duba shafi na 720). Ana samun irin wannan lamari a wasu talakawan kasar Netherlands. contrapuntalists na karni na 15, inda cantus firmus a cikin sassa na gaba ana gudanar da shi a cikin U., da waƙar da aka ɗauka don cantus firmus a ƙarshen aikin. sauti a cikin nau'i wanda ya wanzu a rayuwar yau da kullum (duba misali a Art. Polyphony, ginshiƙai 354-55). Masanan salo mai tsauri sun yi amfani da dabarar W. a cikin abin da ake kira. na al'ada (daidaitacce) canons, inda muryoyin da suka yi kama da juna a cikin tsari sun bambanta. na ɗan lokaci (duba misali a Art. Canon, shafi na 692). Ya bambanta da karuwa, U. baya taimakawa wajen keɓewar babban murya. kwararar wannan muryar da ake amfani da ita. Duk da haka, U. yana kashe wata murya sosai idan sautunan da suka daɗe suna motsa ta; don haka, a cikin talakawa da motets na 15th-16th ƙarni. ya zama al'ada don rakiyar bayyanar cantus firmus a cikin babbar murya (tenor) tare da kwaikwayo a cikin wasu muryoyin dangane da U. na cantus firmus guda ɗaya (duba shafi na 721).

Dabarar adawa da shugaba da muryoyin da suka fi raye-raye da ke cin karo da shi an kiyaye su muddin siffofin da ke kan cantus firmus sun wanzu. Wannan fasaha ta kai ga mafi girman kamala a cikin kiɗan JS Bach; duba, misali, org. tsari na chorale "Aus tiefer Not", BWV 686, inda kowace jumla ta chorale ke gaba da burinta 5. nuni a cikin U., don haka an kafa duka a cikin strophic. fugue (murya 6, 5 fallasa; duba misali a Art. Fugue). A cikin Ach Gott und Herr, BWV 693, duk muryoyin kwaikwayo na kwaikwayi biyu ne da sau huɗu W. chorale, watau gabaɗayan rubutun jigo ne:

JS Baci. Shirye-shiryen gabobin Choral "Ach Gott und Herr".

Reachercar con. 16th-17th ƙarni da kuma kusa da shi tiento, fantasy - wani yanki inda U. (a matsayin mai mulkin, a hade tare da karuwa da juyawa na jigo) ya sami aikace-aikace mai yawa. W. ya ba da gudummawa ga ci gaban jin daɗin instr. kuzarin kawo cikas na nau'i kuma, amfani da jigogi daban-daban (sabanin jigogi na tsauraran salon), ya zama wata dabara wacce ke tattare da mafi mahimmancin ra'ayi na haɓaka haɓaka don kiɗan na lokuta masu zuwa.

Ya. P. Sweelinck. "Chromatic Fantasy" (wani yanki daga sashin ƙarshe; jigon yana cikin raguwa sau biyu da hudu).

Ƙayyadaddun bayanin U. a matsayin fasaha shine irin wannan, ban da isorhythmic. motet da wasu op. Karni na 20 babu wasu nau'ikan da zai zama tushen abun da ke ciki. Canon in U. a matsayin mai zaman kansa. wasa (AK Lyadov, "Canons", No 22), amsa ga U. a fugue ("The Art of the Fugue" na Bach, Contrapunctus VI; duba kuma daban-daban haduwa da U. a karshe fugue daga pianoforte quartet, op 20 Taneyev, musamman lambobi 170, 172, 184) ba su da yawa. U. wani lokaci yana samun amfani a fugue strettas: misali, a cikin matakan 26, 28, 30 na E-dur fugue daga ƙara na 2 na Bach's Well-Tempered Clavier; a ma'aunin 117 na fugue Fis-dur op. 87 No 13 Shostakovich; a mashaya 70 daga karshen wasan kide kide na 2fp. Stravinsky (kwaikwai da ba daidai ba tare da canjin lafazin); a ma'auni na 63 daga wuri na 1 na wasan opera na 3rd na wasan opera "Wozzeck" na Berg (duba misali a labarin Strett). W., dabarar da ke cikin yanayi mai yawan magana, tana samun aikace-aikace iri-iri a cikin mara amfani. kiɗan ƙarni na 19th da 20th. A yawancin lokuta, U. yana ɗaya daga cikin hanyoyin ƙarfafa ƙungiya a cikin wani batu, misali:

SI Taneev. Jigo daga motsi na 3 na wasan kwaikwayo na c-moll.

(Dubi kuma farkon sanduna biyar na ƙarshen Beethoven's sonata No. 23 a cikin piano; Gabatarwar ƙungiyar makaɗa zuwa Ruslan's aria, No. 8 daga Ruslan na Glinka da Ludmila; A'a. 10, b-moll daga Prokofiev's Fleeting, da dai sauransu). Yawan sautin kiɗan ya yaɗu sosai. yadudduka tare da taimakon U. lokacin da ake gabatar da jigon (waƙar mawaƙa ta “Watsewa, Watsewa” a wurin da ke kusa da Kromy daga wasan opera Mussorgsky Boris Godunov; N. A. Rimsky-Korsakov - 1st act of the opera The Legend of the Invisible City Kitezh", lambobi 5 da 34, da S. V. Rachmaninov - kashi na 1 na waƙar "Ƙararrarawa", lamba 12, bambancin X a cikin "Rhapsody a kan Jigo na Paganini"), a lokacin da aka tura shi (kananan canon daga Berg's violin concerto, mashaya 54; a matsayin daya daga cikin bayyanar cututtuka). yanayin yanayin neoclassical na salon - U. a cikin kashi na 4 na violin sonata ta K. Karaev, mashaya 13), a koli. da kuma gamawa. gine-gine (lambar daga gabatarwar opera Ruslan da Lyudmila ta Glinka; Sashe na biyu na Rachmaninov's The Bells, matakan biyu har zuwa lamba 2; 52th part of Taneyev's 4th quartet, lamba 6 da kuma gaba; karshen ballet "The Firebird" Stravinsky ). U. a matsayin hanyar canza jigon ana amfani da shi a cikin bambance-bambancen (2nd, 3rd bambance-bambance a cikin Arietta daga Beethoven's 32nd piano sonata; piano etude "Mazeppa" na Liszt), a cikin gine-gine na tsaka-tsaki (basso ostinato lokacin motsi zuwa coda na wasan kwaikwayo na karshe c- moll Taneyev, lamba 101), a cikin nau'o'i daban-daban na canje-canje na opera leitmotifs (sake aikin tsawa leitmotif a cikin jigogi masu zuwa a farkon wasan 1st na Wagner's opera Valkyrie; ware tushen tsuntsaye da dalilai daban-daban na Maiden Snow). Taken bazara a cikin "Snow Maiden" na Rimsky-Korsakov; wani mummunan murdiya na leitmotif na Countess a cikin 2nd scene na opera "The Sarauniya Spades", lamba 62 da kuma bayan), da kuma alama canje-canje samu tare da U.' Halartar ta na iya zama na kadinal (shigarwar mai shiga cikin Tuba mirum daga Mozart's Requiem, ma'auni 18; leitmotif a cikin coda na ƙarshen wasan kwaikwayo na Rachmaninoff's 3rd symphony, ma'auni na 5 bayan lamba 110; motsi na tsakiya, lamba 57, f rom Taneyev's scherzo symphony in c-moll). U. muhimmiyar hanya ce ta ci gaba a cikin sassan masu tasowa na siffofi da ci gaban sonata na ƙarni na 19 da 20. U. a cikin haɓaka haɓaka zuwa Wagner's Nuremberg Mastersingers (bar 122; fugato sau uku, mashaya 138) abin ba'a ne na ilmantarwa mara manufa (duk da haka, haɗin jigon da U. a cikin sanduna 158, 166 alama ce ta gwaninta, fasaha). A cikin ci gaban kashi na 1 na fp na biyu. Concerto Rachmaninov U. Ana amfani da jigon babbar ƙungiya a matsayin kayan aiki mai ƙarfi (lamba 9). A cikin Production D. D. Shostakovich U. ana amfani da shi azaman na'urar bayyanawa mai kaifi (kwaikwayo akan jigon sashin gefe a cikin kashi na 1 na wasan kwaikwayo na 5, lambobi 22 da 24; a wuri guda a ƙarshen, lamba 32; Canon ostinato mara iyaka akan sautunan kiɗan leitmotif a kashi na 2- na 8th quartet, lamba 23; kashi na 1 na wasan kwaikwayo na 8 ba daidai ba ne U.

Idan Stravinsky. "Symphony of Psalms", motsi na farko (farkon reprise).

U. yana da wadataccen bayani. da kuma kwatanta. dama. "Babban ringing" daga Mussorgsky's "Boris Godunov" (canza jituwa ta hanyar bugun, rabin bugun, kwata na bugun) ya bambanta ta hanyar dynamism na musamman. Hoton kusan gani (Sigmund's Notung, tarwatsewa da bugu akan mashin Wotan) ya bayyana a yanayi na 5 daga aiki na 2 na Wagner's Valkyrie. Halin da ba kasafai ba na sautin murya na gani shine fugato wanda ke nuna gandun daji a ƙauyen 3rd na Rimsky-Korsakov's "The Snow Maiden" ( bambance-bambancen rhythmic guda huɗu na taken, lamba 253). An yi amfani da irin wannan fasaha a wurin tare da mahaukaci Grishka Kuterma a cikin 2nd scene na 3rd act. "Tales of the Invisible City of Kitezh" (motsi a cikin takwas, triplets, goma sha shida, lamba 225). A cikin lambar alamar waƙar Rachmaninoff ta “Isle of the Dead” ta haɗu da bambance-bambancen guda biyar na Dies irae (bar 11 bayan lamba 22).

A cikin kiɗa na karni na 20 ra'ayin W. sau da yawa yana wucewa cikin ra'ayi na raguwar ci gaba; Wannan ya shafi farko ga rhythmic. kungiyar topic. Ƙa'idar U. ko ci gaba a wasu ayyukan serial ana iya ƙarawa zuwa tsarin duka samfurin. ko nufin. sassanta (1st na 6 guda don garaya da kirtani, quartet op. 16 na Ledenev). Haɗin jigon da aka daɗe ana amfani da shi a cikin ayyukan ƙarni na 20. an rikiɗa zuwa dabarar haɗa adadi iri ɗaya, lokacin da jituwa ta kasance ta hanyar sautin sauti iri ɗaya na melodic-rhythmic a lokuta daban-daban. juyawa (misali, "Petrushka" na Stravinsky, lamba 3).

Ana amfani da wannan dabarar a cikin wani ɓangare na aleatoric, inda masu yin wasan kwaikwayon ke inganta sautin da aka ba su, kowannensu a cikin taki (wasu ayyukan V. Lutoslavsky). O. Messiaen yayi nazarin nau'ikan U. kuma ya karu (duba littafinsa "The Technique of My Musical Language"; duba misali a Art. Increase).

References: gani a Art. Ƙara.

VP Frayonov